PERCY  MACKAYE 

A  SKETCH  OF  HIS  LIFE 

WITH  BIBLIOGRAPHY  OF  HIS  WORKS 


Reprinted  from 

The  Twenty-fifth  Anniversary  Report 

of  the  Class  of  1897 

Harvard  College 

1922 


Gift 


PERCY  MACKAYE 
ANCESTRY 

Percy  ^Lv.cKvTE  is  of  New  England  and  Scottish  stock,  being  directly  descended 
from  Gov.  William  Bradford,  of  Plymouth,  and  Roger  Williams,  of  Rhode  Island. 
His  paternal  great  grandfather  came  from  Scotland  about  1800.  His  grandfather. 
Col.  James  Morrison  MacKaye,  an  Abolitionist  leader,  was  appointed  by  Lincohi 
as  Chairman  of  the  Commission  to  promote  the  Emancipation  Proclamation. 

His  mother  (nee  Mary  Medbery,  of  Xewbur^-port,  Mass.)  is  the  author  of  a  dram- 
atization of  "Pride  and  Prejudice,"  widely  used  in  schools  and  universities.  His 
father,  Steele  MacKaye,  author  of  "Hazel  Kirke,"  "Paul  Kauvar,"  etc.,  (1845-94), 
was  eminent  as  a  dramatist,  actor  and  inventor  in  the  art  of  the  theatre.  From  him 
his  son  Percy  received  the  basic  education  for  his  life-work. 

Together,' father  and  son  have  contributed  to  the  American  drama,  in  creative 
continuity,  an  average  of  one  dramatic  work  a  year  for  fifty  years  (1872-1922). 


Born  at  New  York,  N\Y.,  March  16.  18T5.    Son  of  (James) 

Steele  and  Mary  Keith  (Medbery)  MacKaye. 
School:     (1884-87)    Grammar    School   No.    40,   New   York 

City;    (1888-89,   6   months)    Lawrence   Academy,   Groton, 

:\Iass.;    (1889-90,    3    months)     Washington,    D.C.,    High 

School;  (1890-93)  home  study.  ' 
Yeaes  IX  College:  1893-97.   A.B.;  A.M.  (Hon.  Dartmouth) 

1914. 
Married:    Marion  Homer  Morse,  of  Cambridge,  Mass.,  Oct. 

8,  1898,  Shirley  Centre,  Mass. 
Children:  Robert  Keith,  Oct.  8,  1899;  Arvia,  Feb.  14,  1902; 

Christina  Loring,  Jan.  10,  1909. 
OccrPATiox:    Poet  and  dramatist. 
Address:  (business)  Harvard  Club,  27  West  44th  Street.  New 

York,  X.Y.;  (home)  Cornish,  X.H.,  P.  0.  Windsor,  Vt. 

This  sketch  is  written  in  a  little  studio,  built  for  me  among 
tall  oaks  and  beeches,  on  the  Lower  Campus  of  Miami  Uni- 
versity, Oxford,  O.,  where  since  October,  1920,  I  have  held  the 
first  university  Fellowship  in  Poetry  established  in  America. 
Under  congenial  conditions  I  am  given  entire  freedom  to 
pursue  my  own  creative  work,  as  the  fundamental  idea  of  this 
new  precedent  in  the  educational  world  is  "  the  desire  of  the 
university  to  be  instrumental  in  creating  art   and  literature, 

[  3  ] 


notsimpl}^  in  teachmg  them."  So  it  is  from  this  quiet  mile- 
' '  stbiie-.of  woi'l:  that'  I  make  my  retrospect  of  twenty-five  years. 

Below,  I  shall  summarize  the  published  works  and  produc- 
tions which  have  crowded  those  years  for  me  with  innumerable 
tasks  involving  plays,  poems,  communal  dramas,  operas,  es- 
says, lectures,  traveling,  organizing,  directing,  etc.  To  all  of 
these  activities,  varied  though  they  have  been,  m}^  own  ap- 
proach has  been  primarily  that  of  the  poet  (in  its  ancient  sense 
of  maker,  or  builder),  seeking  manifold  yet  exact  forms  of 
technique  for  the  expression  of  the  poet's  individual  vision  in 
its  relation  to  human  society. 

Many  changeful  vistas  of  those  tasks  glimmer  in  remem- 
brance :  Early  stage-rehearsals  of  "  The  Canterbury  Pil- 
grims," with  a  recalcitrant  milk-white  donkey,  all  four  legs 
frozen,  budgeless  with  his  burden,  the  dismayed  soubrette  Wife 
of  Bath.  —  Midwinter,  in  the  little  town  hall  at  Dublin,  X.H. : 
a  man-model  against  a  dusky  curtain:  Abbott  Thayer,  the 
artist-inventor,  intent,  excited,  testing  (in  1906!)  his  new 
"  camouflage  "  principles  to  create  a  stained-glass  vision  of 
Charlemagne  for  the  Sothern-Marlowe  production  of  my  play 
"  Jeanne  d'Arc." —  The  battle-field  of  Ticonderoga :  a  raised 
platform:  speeches  from  President  Taft,  Secretary  Root,  Am- 
bassador Jusserand :  tourists,  farmers,  hundreds  of  up-peering 
faces,  as  I  read  to  them  of  "  soldier  and  saint  and  sagamore  " 
in  my  poem  of  old  Champlain.  —  Opening  night  of  my  Greek 
Tragedy  in  New  York  (across  the  street  from  "  The  Merry 
Widow,"  also  having  its  premiere)  :  the  net  scene  between  Sap- 
pho and  her  slave-lover  Phaon :  enter  from  the  wings  a  brindled 
unsalaried  cat,  who  slinks  between  the  lovers  toward  the  temple: 
"  Never  mind,  old  fellow,"  whispers  William  Vaughn  Moody, 
who  sits  next  me ;  "  it  's  a  tortoise-shell  cat !  " —  Behind  the 
scenes  at  "  The  Scarecrow" :  half  a  dozen  stage-hands  furi- 
ously puffing  corn-cob  pipes,  to  keep  the  Devil  supplied  with 
brimstone  for  Lord  Ravensbane:  one  stage-hand  horned,  and 
hairy  to  the  waist,  to  portray  the  "  dummy  "  in  the  magic  mir- 
ror. —  The  ^letropolitan  Opera  House,  crammed  to  the  ceiling: 
Peary,  just  returned  from  the  North  Pole:  the  clamorous 
ovation:  a  few  tingling  moments  of  silence  in  which  to  voice 
that  consummation  of  the  centuries  in  a  poem.  Governor 
Hughes  introducing  me:  the  thrilling  response  and  its  mem- 
ory. —  Again  the  ^Metropolitan,  and  again  the  Wife  of  Bath, 

[   4   ] 


but  this  time  a  German  singer  in  mj  "  Canterbury  "  opera  and 
deKoven's,  1917:  From  a  box  Ambassador  Gerard  has  just 
read  President  Wilson's  proclamation  of  our  entrance  into  the 
World  War:  the  German  orchestra  has  just  played  (for  the 
first  time  ever)  "The  Star-Spangled  Banner":  curtain  rises 
on  Act  Third:  the  Wife  of  Bath  begins  an  aria,  sways,  sings 
more  faintly,  falls  in  a  swoon  —  and  is  carried  off  stage  (soon 
after  to  be  interned  as  a  German  spy)  :  end  of  that  perform- 
ance !  —  Snowy  quiet  on  the  lonely  hills  of  Cornish,  N.H. : 
midnight:  a  lit  candle:  paper,  pencil,  and  work:  a  snug 
wood-fire:  a  little  mouse  climbs  up  the  candle,  nibbling  close 
to  the  flame:  we  eye  each  other:  he  wonders:  so  do  I.  —  Night 
again :  Two  hundred  thousand  human  beings  massed  on  a  sum- 
mer hillside  of  St.  Louis,  like  clover-tops  in  a  moonlit  field: 
across  a  gleaming  of  water,  the  magic  world  of  my  Masque  in 
full  production:  the  Pioneers  and  the  Earth-Sj^irits  shine  in 
their  wrestling,  half  naked :  Gold  and  his  followers  are  downed : 
the  human  clover-field  rustles,  rumbles,  roars  like  a  million  bee- 
swarms. —  Carnegie  Hall,  New  York:  demurer  crowds:  black 
coats  on  the  platform:  amongst  them  one  white  head,  with 
hand  tilting  forward  the  left  ear:  Edison  receiving  his  gold 
medal:  he  does  n't  hear  my  poem,  but  discusses  it  afterward, 
telling  me  reminiscently  how  he  and  my  father  had  sat  up  all 
night,  many  's  the  time,  discussing  each  other's  inventions.  — 
Dawn  in  the  Harvard  Stadium,  after  an  all-night  light  rehear- 
sal of  "  Caliban  " :  the  glow  in  the  forty-foot  plaster  dome  of 
Prospero's  visions  is  a  misty  rose  color ;  but  so  also  —  a  misty 
rose  —  is  that  sky  there  at  3.30  a.m.  :  the  two  dome  lights 
commingle:  the  dawns  are  blended. 

So  the  vistas  glimmer  and  change ;  but  through  all  their 
diversities  one  aim  has  been  the  goal  of  my  endeavors :  to  at- 
tain through  varied  arts  a  practical  svnthesis  for  the  poetrv  of 
life. 

Soon  after  our  country  entered  the  war,  my  son  Rob  (then 
in  Exeter)  and  I  registered  together  at  the  same  booth  in 
New  York,  but  his  class  was  too  young  and  mine  too  old  to  be 
called  into  service.  So  my  war  work  consisted  of  contributing 
a  Masque  ("  The  Roll  Call  ")  for  the  Red  Cross,  a  Christmas 
Masque  ("  The  Evergreen  Tree  ")  for  army  camps  and  com- 
munities, and  my  play  "  Washington,  the  Man  Who  Made 
Us,"  having  for  its  theme  the  still-living  leadership  of  our  first 

[  5  ] 


great  leader.  After  the  armistice,  with  the  return  of  our 
soldiers,  I  had  the  honor  to  give  at  Harvard  my  Lowell  Cen- 
tenary poem,  "  The  Returning,"  in  Sanders  Theatre,  under 
conditions  very  similar  to  those  under  which  Lowell  himself 
read  his  "Commemoration  Ode  "  on  the  return  of  Harvard  men 
from  the  Civil  War. 

So  much  for  glimpses  in  retrospect.  In  looking  forward, 
I  fancy  that  —  like  most  of  our  classmates  —  I  look  hopefully 
to  the  new  generation,  wherein  I  feel  I  have  made  my  most  con- 
structive contribution  to  our  Alma  Mater  in  the  sturdy  young 
manhood  of  Robert  Keith  MacKaye,  Harvard,  '23,  who  won  a 
gold  medal  in  his  Freshman  year  by  "  throwing  the  hammer  " 
against  Princeton.  —  Long  live  '97  and  '23 ! 

A  summary  of  specific  data  follows : 

After  marriage  in  Oct.,  1898,  lived  abroad  (1898-1900),  residing  suc- 
cessively at  Rome,  Brunnen  (Switz.),  Leipzig,  and  London:  at  Univ.  of 
Leipzig  studied  as  matriculated  student,  1899-1900;  taught  in  private 
school,  New  York,  1900-04;  joined  Cornish,  N.H.,  Colony,  1904;  lectured 
on  the  theatre  at  Harvard,  Yale,  Columbia,  and  many  other  universities, 
1906-13;  delivered  address  on  "The  Worker  in  Poetry"  before  the  National 
Academy  and  Institute,  New  Theatre,  New  York,  1911;  Harvard  Phi 
Beta  Kappa  poem,  1908,  and  commemorative  poems  on  Lincoln,  Peary, 
AVilbur  Wright,  Goethals,  Edison,  Walt  Whitman,  Vaughn  Moody,  How- 
ells,  Alexis  Carrell,  Lowell,  Tennvson,  Browning,  Thackeray,  Shakespeare, 
Ellen  Terry,  1909-19;  Prologue  to  Saint-Gaudens  Masque,  Cornish,  N.H., 
190.5;  contributed  various  articles  and  poems  to  magazines;  appointed  to 
first  American  fellowship  in  poetry  and  drama,  at  Miami  Univ.,  Oxford, 
O.,  1920;  commemorating  the  Unknown  Soldier,  "Arlington,  Va.,  Ceremony, 
and  the  Washington  Conference,  wrote  "  The  Unknown  Dead  "  and  U.  of 
P.  Phi  Beta  Kappa  poem  "  Ourselves,"  1921. 

Editor:  Chaucer's  "The  Canterbury  Tales:  Prologue  and  Ten  Tales: 
A  Modern  Rendering  into  Prose"  (Fox,  Duffield,  New  York,  1905)  ;  "The 
Modern  Reader's  Chaucer"  (with  Prof.  J.  S.  P.  Tatlock:  Macmillan, 
1912). 

Biographer:  "Steele  MacKaye,  Dvnamic  Artist  of  the  American 
Theatre"   (The  Drama  Quarterly:     19li-12). 

Member:  Societies:  National  Institute  of  Arts  and  Letters;  Poetry 
Society  of  America;  (hon.)  Harvard  Phi  Beta  Kappa,  and  Tufts  Phi  B. 
K.;  Dramatists'  Guild  of  Authors'  League  of  America;  Society  of  May- 
flower Descendants. — -Clubs:  Players,  Harvard,  MacDowell  (New  York); 
Everglades   (Palm  Beach);  Cosmos   (Washington,  D.C.). 

Author  of  the  following  published  works   and  productions: 
Poems: 

Poems   (Macmillan,  1909);  Second  Edition  entitled  The  Sistine  Eve  and 
Other  Poems    (Macmillan,  1915). 

Lincoln,  A  Centenary  Ode  (Macmillan,  1909). 

Uriel  and  Other   Poems    (Houghton  Mifflin,   1912). 

The  Present  Hour:     Poems  of  War  and  Peace   (Macmillan,  1914). 

Poems  and  Plavs:     Collected  in  two  volumes;  Vol.  I:     Poems   (Macmil- 
lan, 191fJ). 

Dogtown   Common:     A    Narrative   Poem    of    Old    New   England    (Mac- 
millan, 1921). 

[  6  ] 


Essays : 

The  Playhouse  and  the  Play,  and  Other  Addresses  Concerning  the  Theatre 
and   Democracy  in  America    (Macmillan,    1909). 

The  Civic  Theatre,  in  Relation  to  the  Redemption  of  Leisure:  A  Book 
of  Suggestions   (Mitchell  Kennerley,  X.Y.,  1912). 

A  Substitute  for  "War,  with  an  Introduction  by  Irving  Fisher,  Ph.D., 
and  with  Prefatory  Letters  by  The  Right  Hon.  Viscount  Bryce,  O.M., 
and  Norman  Angell    (Macmillan,  1915). 

Communitv  Drama:  Its  Motive  and  Method  of  Xeighborliness  (Hough- 
ton Mifiiin,  1917). 

Plar/s: 

The  Canterbury  Pilgrims,  A  Comedy  (Macmillan,  1903)  ;  first  produc- 
tion: by  the  Coburn  Players  (Park  Extension,  Savannah,  Ga.,  April 
30,  1909:  first  A^tc'  York  prod.:  Barnard  College:  May  25,  1909); 
acted  in  outdoor  repertory,  106  performances  during  6  seasons. 

Fenris  the  Wolf,  A  Tragedy  (Macmillan,  1905). 

Jeanne  d'Arc,  A  Tragedy:  Scene  Designs  by  Barry  Faulkner  (Mac- 
millan, 1906);  first  prod.:  by  E.  H.  Sothern  and  Julia  Marlowe,  inci- 
dental Music  Suite  bv  F.  S.  Converse  (Lvric  Theatre,  Philadelphia, 
Oct.  15,  1906:  first  Netv  York  prod.:  Lyric  Th.,  Jan.  28,  1907:  London 
jyrod.:     Waldorf  Th.,  April  2-1-,   1907). 

Sappho  and  Phaon,  A  Tragedy,  set  forth  with  a  Prologue,  Induction, 
Prelude,  Interludes,  and  Epilogue  (Macmillan,  1907);  first  prod.: 
(the  Tragedy  Proper,  only)  by  Harrison  Grey  Fiske,  with  Bertha 
Kalich,  incidental  (Greek)  Music  com.  by  Prof.  A.  A.  Stanley  (Univ. 
of  Mich.),  temple  scene  designed  bv  Maxfield  Parrish  (Opera  House, 
Providence,   R.I.,   Oct.    14,   1907;   Sew    York   prod.:     Lyric   Th.,   Oct. 

21,  1907). 

Mater,  An  American  Study  in  Comedy  (Macmillan,  1908);  first  prod.: 
by  Henry  Miller,  with  Isabel  Irving,  Music  by  George  W.  Chadwick 
(Van  Xess  Th.,  San  Francisco,  Aug.  3,  19U8:  Xe-w  York  prod.:  Savoy 
Th.,  Sept.  25,  1908:  London  prod.:  by  Winifred  Emery,  Playhouse, 
June  4,  1915). 

The  Scarecrow,  or  The  Glass  of  Truth:  A  Tragedy  of  the  Ludicrous 
(Macmillan,  1908);  first  prod.:  by  Harvard  Draniatic  Club  (Brattle 
Hall,  Cambridge,  Mass.,  Dec.  7,  1909);  Xexc  York  prod.:  by  Henry 
B.  Harris,  with  Frank  Reicher  and  Edmund  Breese  (Garrick  Th.,  Jan. 
17,  1911);  acted  in  America,  by  Frank  Reicher,  during  two  seasons; 
prod,  in  England:  by  Muriel  Pratt  (Tlieatre  Royal,  Bristol,  Nov.  30, 
1914). 

L'Epouvantail  ("The  Scarecrow"):  traduite  de  I'anglais  par  Charles- 
Marie  Garnier,  de  la  Sorbonne   (Paris,  1910). 

Die  Vogelscheuche  ("The  Scarecrow"):  uebersetzt  von  Walther  Fischer, 
Ph.D.  (Univ.  Penn.)  :  for  production  in  German  by  Rudolph  Schild- 
kraut,  Deutsches  Theater,  Berlin,  direction  of  Prof.  Max  Reinhardt 
(Berlin,   1914). 

Anti-Matrimony,  A  Satirical  Comedy:  Frontispiece  in  color  by  Arnold 
Genthe,  of  Miss  Crosman  as  "  Amorata "  in  Act  HI  (F.  A.  Stokes, 
1910);    Xew  York  prod.:    by  Henrietta  Crosman   (Garrick  Th.,  Sept. 

22,  1910)  ;  acted  during  2  seasons. 

A  Garland  to  Sylvia,  A  Dramatic  Reverie,  with  a  Prologue  (Macmillan, 

1910) :     writing  begun  at  Harvard,  in  1897. 
Tomorrow,  A  Plav  in  Three  Acts  (Stokes,  1912);  first  prod.:    by  Frank 

Reicher  (Little'Th.,  Philadelphia,  Oct.  31,  1913). 
Yankee  Fantasies:     Five  One-Act  Plays   (Duffield,  1912): 

(1)  Chuck,    An    Orchard    Fantasy;  'first   prod.:      by    Coburn    Players 

(Miami  Univ.,  Oxford,  Ohio,  July  17,  1912). 

(2)  Gettysburg,  A  Woodshed  Commentary:     first  prod.:     by  Howard 

Kyle  (Bijou  Th.,  Boston,  Jan.  3,  1912). 

[    7    ] 


(3)  The    Antick,   A    Wayside    Sketch:     f.rst   prod.:     bv    "Washington 

Square  Players   (Bandbox  Th.,  New  York,  Oct.  4,' 1915). 

(4)  The  Cat-Boat,  A  Fantasy  for  Music:     first  prod.:    by  University 

Players    (Univ.  of   Kentucky,  May   16,   1921). 

(5)  Sam  Averacre,  A  Silhouette:     first  prod.:     Toy  Theatre   (Boston, 

Feb.  26,  1912). 

A  Thousand  Years  Ago,  A  Romance  of  the  Orient,  with  an  Introduc- 
tion by  Clayton  Hamilton:  Frontispiece  of  the  Author  and  Cast 
(Doubieday,  Page,  1914;  paper  edit.  Saml.  French,  N.Y.,  1920); 
first  prod,  yezc'  York:  by  Shubert  &  Brady,  with  Henry  E.  Dixey 
and  Rita  Jolivet.     Music  by  \Vm.  Furst   (Shubert  Th.,  Dec.  1,  1913)*. 

Washington,  The  :\Ian  Who  Made  Us:  A  Ballad  Play,  with  Scene  De- 
signs by  Robert  Edmond  Jones  (Alfred  A.  Knopf,  New  York,  1918; 
the  ballads  with  music,  illustrations  by  Arvia  MacKaye,  pub.  by  H. 
W.  Gray  Co.,  N.Y.,  1920);  first  prod.:  by  Walter  Hampden  (Belasco 
Theatre,  Washington,  D.C.,  before  Congress  Members  and  Cabinet, 
Washington's  Birthday,  1920;  New  York  prod.:  Lyric  Theatre,  March 
1,  1920). 

Washington,  Action  Dramatique  (la  version  fran^aise  de  la  Onzi^me 
Action  — Acte  III,  2e  partie  —  de  "Washington,  The  Man  Who  Made 
Us:  a  ballad  play"),  traduite  de  I'anglais  par  Pierre  de  Lanux, 
Esquisse  Scenique  par  Robert  Edmond  Jones,  frontispice  (de  Copeau 
dans  le  role  de  Washington)  par  Arnold  Genthe  (New  York,  Bren- 
tano's,  1919);  first  prod.:  by  Jacques  Copeau,  with  Induction  and 
Prologue,  transl.  into  French  by  Copeau  (New  York:  French  Theatre 
du  Vieux  Colombier;  week  of  Feb.  17,  1919;  Special  Performance  for 
Members  of  Natl.  Inst,  and  Academy  of  Arts  and  Letters,  Feb.  20). 

Operas : 

The  Immigrants,  A  Lyric  Drama,  with  an  Introduction  by  Frederick  C. 
Howe,  Commissioner  of  Immigration  at  Ellis  Island,  New  York  (B. 
W.  Huebsch,  N.Y.,  191.5) ;  written  as  a  commission  for  the  Boston 
Opera  House,  the  music  being  composed  by  Frederick  S.  Converse. 

Sinbad,  the  Sailor,  His  Adventures  with  Beauty  and  the  Peacock  Lady 
in  the  Castle  of  the  Forty  Thieves:  A  Lyric  Phantasy,  with  Designs 
by  Joseph  Urban  (Houghton  Mifflin,  1917);  written  for  the  Boston 
Opera  House,  the  music  being  composed  by  F.  S.  Converse. 

The  Canterbury  Pilgrims,  An  Opera  (cloth*  edition,  Macmillan,  1916; 
paper  edit.,  John  Church  Co..  1917:  Text  with  Music  bv  Reginald 
deKoven:  John  Church  Co.,  1917);  prod.:  by  Gatti  Cassazza  (Metro- 
politan Opera  House,  N.Y.,  March  8,  1917:  7  performances  that 
season). 

Rip  Van  Winkle,  Folk-Opera  in  Three  Acts  (cloth  edition,  Alfred  A. 
Knopf,  N.Y.,  1919;  paper  edit.,  G.  Schirmer,  N.Y.:  Text  with 
Music  by  Reginald  deKoven,  G.  Schirmer,  1919);  2>rod.:  by  the 
Chicago  Opera  Company  (Auditorium,  Chicago,  Jan.  2,  1920:  New 
York  prod.:  Lexington  Theatre,  Jan.  30,  1920:  6  performances 
that  season). 

Communal  Dramas   (Masques  and  Pageant-Rituals)  : 

Saint-Gaudens  Masque-Prologue  ("in  "Poems,"  Macmillan,  1909;  de- 
scribed in  MacKaye's  "American  Pageants  and  their  Promise,"  Scrib- 
ner's  Magazine,  July,  1909,  and  in  "The  Civic  Theatre,"  pages  166- 
170,  306-308;  the  Masque  by  Louis  Evan  Shipm.an) :  prod.:  by  Cornish 
Colony  artists;  Music  by  Boston  Symphony  Orchestra;  Designs  bv 
Maxfield  Parrish,  Kenyon  Cox,  Charles  A.  Piatt,  Herbert  Adams 
(Augustus  Saint-Gaudens  estate,  Aspet,  Cornish,  N.  H.,  June  23, 
1905). 
The  Gloucester  Pageant,  "The  Canterbury  Pilgrims"  large-scaled  (de- 
scribed and  summarized  in  "The  Civic  Theatre,"  pages"l61-164,  280- 
287);  prod.:     by  Eric  Pape,  with  1500  citizens  of  Gloucester,  Mass; 

[  8  1 


Music  by  Walter  Damrosch,  Charles  A.  SafFord,  Conductor  and  Chorus 
Leader,  in  honor  of  President  Taft  (Fort  Hill  Park,  Aug.  3,  1909). 

Pittsburgh  Pageant,  "A  Masque  of  Labor"  (described  and  summarized 
in  "The  Ci%lc  Theatre,"  pages  45,  25i,  288-305);  projected,  with  John 
W.  Alexander,  for  Pittsburgh,  Pa.    (July  4,   1910). 

Sanctuary,  A  Bird  Masque,  with  a  Prelude  by  Arvia  MacKaye,  with 
photographs  in  color  and  monotone  by  Arnold  Genthe  (F.  A.  Stokes, 
1914);  the  Lyrics  with  Music  by  F.  S.  Converse;  pub.  by  H.  W.  Gray 
Co.,  N.Y.  (1915);  prod.:  by  Joseph  Lindon  Smith,  Ernest  Harold 
Baynes,  and  the  author,  in  honor  of  President  and  Mrs.  Wilson,  to 
dedicate  the  bird  sanctuary  of  the  Meriden  Bird  Club  (Meriden, 
N.H.,  Sept.  12,  1913) ;  repetition  by  Civic  Forum,  with  Conference  on 
Conservation  and  the  Art  of  the  Theatre  (Hotel  Astor  Th.,  N.Y.,  Feb. 
24,  1914) ;  since  when  120  performances,  directed  by  E.  H.  Baj'nes  (in 
Redpath  Chautauqua,  before  200,000  spectators,  with  4000  'children 
participating,  1916) ;  also  many  community  productions  elsewhere 
every  season. 

Saint  Louis,  A  Civic  Masque:  with  Preface  and  Appendices  concerning 
its  production  (Doubleday,  Page,  1914;  Text  of  the  Masque  Choruses, 
with  Music  by  F.  S.  Converse,  pub.  by  H.  W.  Gray  Co.,  N.Y.,  1914) ; 
prod.:  by  Joseph  Lindon  Smith  and  the  author  and  many  assistants, 
with  7500  citizens  of  St.  Louis,  before  half  a  million  spectators  in  5 
performances  (Forest  Park,  Art  Hill,  St.  Louis,  May  28-June  1,  1914). 

The  New  Citizenship,  A  Civic  Ritual:  Devised  for  Places  of  Public 
Meeting  in  America  (Macmillan,  1915);  prod.:  for  Mavor's  Commit- 
tee (N.Y.  City  College  Stadium,  July  4,  1916;  also  St'.  Louis,  Feb., 
1916,  and  Denver,  Col.,  Aug.  1,  1916;  and  in  many  schools,  etc.). 

Caliban,  By  the  Yellow  Sands,  A  Community  Masque  of  the  Art  of  the 
Theatre:  Devised  and  Written  to  Commemorate  the  Tercentenary  of 
the  Death  of  Shakespeare;  Illustrations  by  Joseph  Urban  and  Robert 
Edmond  Jones  (cloth  and  paper  editions,  Doubleday,  Page,  1916;  New 
Edition  —  paper,  22d  Thousand  —  with  omissions  and  additions  to  text: 
new  Foreword,  and  Epilogue,  as  performed  at  the  New  York  produc- 
tion, 1916;  and  Comment  on  the  Music,  with  Themes  reproduced,  by 
Arthur  Farwell;  Doubleday,  Page,  1917;  Text  of  the  Choruses,  with 
Music  by  Arthur  Farwell,  pub.  by  John  Church  Co.,  N.Y.,  1917); 
prod.:  with  use  of  symbolic  actor-masks,  by  the  author,  Joseph  Urban, 
Robert  Edmond  Jones,  Richard  Ordynski,  and  Garnet  Holme,  Cecil 
Sharp,  Hazel  MacKaye,  Irving  Pichel,  with  2500  citizens  and  eminent 
stage-professionals,  Isadora  Duncan,  John  Drew,  Lionel  Braham,  Edith 
Wynne  Matthison,  etc..  Wash.  Sq.  Players,  Neighborhood  Playhouse 
and  hundreds  of  organizations  participating,  before  135,000  spectators 
in  10  performances  (N.Y.  City  College  Stadium,  enlarged  double 
size,  May  25-June  5,  1916) :  second  prod.  (Cambridge,  Mass.) :  by 
Frederick  Stanhope,  Robert  Edmond  Jones,  Irving  Pichel,  Samuel 
Eliot,  Virginia  Tanner,  and  (com.  directors)  Percy  Burrell  and  Hazel 
MacKaye,  with  5000  citizens  of  Greater  Boston,  before  250,000  specta- 
tors in  17  performances  (Harvard  Stadium,  with  new  Stage  and  light- 
ing-dome, Julv  2-Julv  21,  1917) ;  pub.  "  Caliban  News,"  4  numbers 
(Harvard  Stadium,  July  4-20,  1917). 

The  Evergreen  Tree,  A  Masque  of  Christmas  Time  for  Community  Sing- 
ing and  Acting,  with  Scenic  and  Costume  Designs  (in  color)  by  Robert 
Edmond  Jones,  together  with  Three  Monographs  on  the  Masque,  writ- 
ten bv  the  Author,  the  Scenic  Designer  and  Arthur  Farwell,  composer 
of  the  Music  (cloth  edit.,  D.  Appleton  &  Co.,  N.Y.,  1917;  paper  edit., 
John  Church  Co.,  1917;  Text  of  Choruses  and  Carols,  with  Music  by 
Arthur  Farwell,  pub.  by  John  Church  Co.,  1917);  first  prod.:  by 
Alfred  G.  Arvold,  The  Little  Country  Theatre,  Agricultural  College, 
Fargo,  N.D.  (Dec,  15,  1917)  ;  by  War  Camp  Community  Service,  St. 
Louis  (Coliseum,  Dec.  27,  1918),  and  many  communities  elsewhere. 


The  Roll  Call,  A  Masque  of  the  Red  Cross  for  Community  Acting  and 
Singing,  with  Scenic  and  Costume  Designs  (in  color)  by  Robert  Ed- 
mond  Jones,  and  Cover  Design  by  Arnold  Genthe:  together  with  an 
Appendix  of  Instructions  and  Suggestions  Concerning  the  Production 
of  the  Masque,  written  by  the  Author  and  Scenic  Designer  and  Irving 
Pichel,  Director  of  the  initial  production  at  Washington  (Red  Cross 
Christmas  Roll  Call,  National  Headquarters,  American  Red  Cross, 
Washington,  D.C.,  1918;  the  Choruses  of  the  Masque,  the  Music  arr. 
by  Clarence  Dickinson,  pub.  by  H.  W.  Gray,  N.  Y.,  1918)  ;  prepared 
for  'production  by  Irving  Pichel,  Mrs.  Otis  Skinner,  and  Howard  Kyle 
at  Washington,  Nov.,  1918;  and  produced,  with  masks  designed  by 
R.  E.  Jones,  at  York,  Pa.,  Cleveland,  O.,  Atlanta,  Ga.,  Ballston  Spa, 
N.Y.,  Aiken,  S.C,  and  Chicago,  111.,  in  Dec,  1918;  on  battleships,  and 
elsewhere. 

The  Will  of  Song,  A  Dramatic  Service  of  Community  Singing,  devised 
in  co-operation  with  Harry  Barnhart:  for  use  as  a  Two  Days'  Song 
Festival,  in  Two  Parts:  Cover  Design  by  Claude  Bragdon  (with 
Preface  concerning  the  "Group  Person"  and  Chants  of  the  People: 
the  Appendix  containing:  Musical  Prog:ram  and  Notes,  by  Harry 
Barnhart;  Setting  for  Production,  by  Irving  Pichel;  Program  of  the 
Orange  Production,  Orange  Armory,  May  2  and  3,  1919;  and  Program 
of  the  Bufifalo  Production,  Elmwood  Music  Hall,  May  26  and  27,  1919; 
Boni  and  Liveright,  N.Y.,  1919);  prod.:  by  Irving  Pichel  (in  Orange, 
N.J.,  and  Buffalo,  N.Y.,  at  dates  here  given). 

The  Pilgrim  and  the  Book,  A  Dramatic  Service  of  the  Bible,  Designed  to 
be  used  in  Churches:  Written  for  the  American  Bible  Society:  Cover 
Design  from  statue  by  Augustus  Saint-Gaudens,  by  special  permission: 
together  with  Comments  and  Suggestions  in  Regard  to  Participation 
in  the  Service,  and  Words  and  Music  of  the  Hymns  (American  Bible 
Society,  Bible  House,  Astor  Place,  New  York  City,  1920);  prod.:  by 
churches  of  many  denominations,  with  minister,  choir  and  congrega- 
tion, during  and  after  Pilgrim  Tercentenary  Celebrations,  1920-21, 
throughout  America;  and  in  Hawaii,  Syria,  and  elsewhere. 

Miscellaneous  Works  and  Editions: 
(1)     Publications  with  Music: 

Three  Sonars  from  Sanctuary:     Music  by  F.  S.  Converse   (H.  W. 

Gray,   1914). 
Choruses  from  Saint  Louis  Masque:    Music  by  F.  S.  Converse  (H. 
W.  Gray,  1914). 

(1)  Chant  of  the  River  Spirits   (for  Men's  Voices). 

(2)  Song  of  the  World  Adventurers  (for  Mixed  Voices). 

(3)  March  of  the  Pioneers   (for  Male  Chorus). 

The  Lads  of  Liege:    Music  by  Carl  Paige  Wood  (H.  W.  Gray  Co., 

1916). 
Choruses  of  "Caliban":     Music  by  Arthur  Farwell   (John  Church 

Co.,  1916). 
Choruses  and  Carols  of  "The  Evergreen  Tree":     By  Arthur  Far- 
well  (John  Church  Co.,  1917). 
The  Battle-Call  of  Alliance   (Four-part  Chorus  of  Mixed  Voices): 

Music  by  Reg.  deKoven   (G.  Schirmer,  N.Y.,  1917). 
American  Consecration  Hymn:     Music  by  Francis  Macmillen  (Carl 

Fischer,  N.Y.,  1917). 
The    Canterbury   Pilgrims:      Opera:     Text   and   Score:     Music   by 

Reg.  deKoven   (John  Church  Co.,  1917). 
Choruses   of  "The  Roll-Call":     Red  Cross  Masque    (H.  W.  Gray 

Co.,  1918): 

(1)  Chorus  of  Womanhood  (Music  by  Chopin). 

(2)  Lonely  and  Starless   (Music  by  Chopin). 

(3)  The   Power  of   Gentleness    (Music  by   Oliver   Holden). 

(4)  Chorus  of  All  Hearts   (Music  by  Arthur  Sullivan). 

[  10  ] 


Rip    Van    Winkle:      Opera:      Text    and    Score:      Music    by    Reg. 

deKoven    (G.   Schirmer,   1919). 
The   Ballads    from   "George   Washington":     Illustrations   by  Arvia 

MacKave:     Music,  old  Appalachian  folk-tunes   (H.  W.  Gray  Co., 

1920).  ' 

(2)  Publications   by  Societies: 

The  Civic  Drama  as  a  Constructive  Social  Force:  with  Discussion 
bv  Lorado  Taft,  George  Pierce  Baker,  Thomas  H.  Dickinson, 
Mary  Austin,  Mrs.  A.  Starr  Best,  Mr.  Hinckley,  P.  W.  Dykema, 
Hamlin  Garland,  Chas.  F,  Wieland,  and  Robert  E.  Lee:  in 
"Proceedings  of  ihe  Conference  of  'The  League  of  Cities'  (of 
the  Saint  Louis  Masque),  held  May  29-31,  1914"  (Saint  Louis 
Pageant   Drama  Assn.,   1914). 

The  Need  of  Dynamic  Symbols  for  Peace:  with  Discussion  by 
George  W.  Xasmith,  Xorman  Angell  and  John  Mez:  in  "Pro- 
ceedings of  the  Conference  on  International  Relations,  held  at 
Cornell  L'niversitv,  June  15^30,  1915"  (World  Peace  Foundation: 
Boston,  1916). 

The  Returning:  Lines  in  Commemoration  of  James  Russell  Lowell: 
delivered  in  Sanders  Theatre,  Harvard  College,  pub.  in  "  Celebra- 
tion of  the  One  Hundredth  Anniversary  of  the  Birth  of  James 
Russell  Lowell  bv  the  Cambridge  Historical  Societv,  February 
22,    1919"    (Cambridge,  Mass.,  1919). 

(3)  Special  Editions: 

Johnny  Crimson,  A  Legend  of  Hollis  Hall:  by  Percy  Wallace 
MacKaye,  '97:  Cover  Design  by  Eric  Pape:  Frontispiece  of 
Holden,  Hollis  and  Harvard  Halls,  in  1794.  by  Alice  Davenport, 
after  an  old  print;  with  tail-piece  of  the  old  yard  pump  (Boston, 
Kiley,  printer,  7  Spring  Lane,   1895). 

The  Xeed  of  Imagination  in  the  Drama  of  Today:  Harvard  Com- 
mencement Part,  1897  (Reprint  from  "Harvard  Advocate"  at 
Harv,    L^niv.   Library). 

Jeanne  d'Arc:  Theatre  Edition,  paper:  Frontispiece  of  Julia 
Marlowe  as  Jeanne  in  Act  I,  with  Four  other  Photo-Illustrations, 
and  Programme,  of  the  Plav  as  first  produced  at  Lvric  Theatre, 
Philadelphia,  Oct.  15,  1906,  bv  E.  H.  Sothern  and  Julia  Marlowe 
(Macmillan,  1906). 
Sappho  and  Phaon:  Theatre  Edition,  paper:  Frontispiece  of  Mad- 
ame Kalich  as  Sappho  in  Act  I  (the  Tragedy  portion  only)  :  with 
Prefatory  Note  and  Appendix  of  "  A  Brief  Biography "  of  the 
Author   (Macmillan,  1907). 

Saint  Louis,  A  Civic  Masque:  Edition  de  Luxe,  limited  to  300 
copies,  signed  by  Author:  Frontispiece  portrait-drawing  of  the 
Author  by  Kahlil  Gibran:  Cover  Design  Indian  ]Man-Eagle  of 
the  Mound-Builders   (Doubleday,  Page,  1914). 

George  Washington,  A  Dramatic  Action,  with  a  Prologue:  Scene 
Design  by  Robert  Edmond  Jones:  together  with  Comments  and 
Suggestions  in  regard  to  its  Production  by  the  Author,  the  Scene 
Designer,  and  Walter  Hampden,  first  impersonator  of  the  title- 
role  of  the  three-act  Play,  from  which  this  Action  (the  Ninth) 
is  selected,  entitled  '  Washington,  The  Man  Who  Made  Us,  A 
Ballad  Play,'  by  Percy  MacKaye  (The  George  Washington  Me- 
morial Association,  Washington,  D.C.,  1920). 

George  Washington  at  the  Delaware  (the  Same  as  "George  Wash- 
ington," above):     pub.  by  Samuel  French    (New  York,  1920). 

(4)  Works  published  in  Collections: 

The  Scarecrow  (Revised  Version,  as  acted  in  England,  and  — 
translated  —  in  Germany) :  in  "  Chief  Contemporary  Drama- 
tists," edit.  ])v  Thomas  H.  Dickinson:  pp.  357-:393  (Houghton 
Mifflin,  1915).' 

[    11    1 


"  Representative  American 
pp.  841-878    (The   Centurv 


edit,  by  M. 


The  Scarecrow   (Revised  Version):     in 

Plays":     edit,  bv  Arthur   H.  Quinn: 

Co.,  X.Y.,  1919)' 
Sam  Average:     in  "Representative  One-Act  Plavs 

G.  Mayorga:     pp.  7-19    (Little  Brown,  Boston,*  1919) 
Gettysburg:     in   "One-Act   Plays  bv  Modern  Authors":     edit    by 

Helen  Louise  Cohen:     pp.  95-110    (Harcourt,   Brace  &   Co.,  X.Y. 

Gettysburg:     in  "The  Atlantic  Book  of  Modern  Plays"": 

Sterling   Andrus    Leonard:     pp.    1()0_]76    (The   Atlantic 

Press,  Boston,  1921). 
Various  Poems,  in  Anthologies  edited  bv  Rittenhouse,  Monroe  and 

Henderson,   Braithwaite,    and   many   others. 
Translations: 
Hannele:     The   metrical    portions   of   Gerhardt    Hauptmann's   play 

translated   from  the  German,  for  Mrs.   Fiske"s   production   (New 

^ork,  Lyceum  Theatre,  April   18,  1910). 
CEdipus:     The  Choruses  of  Sophocles"  tragedy  translated   from  the 

Greek,  for  the  production   by   Isadora    Duncan    (New   York,  Cen- 


edit.  by 
Monthly 


tury  Theatre,  April  KJ,  191.5) 
Orniazd:     Poem   rendered   from   the 
**  Sym))h()iiic   Poem  ""   of   F.   S 


Xatl.   Acad,   and 
Nov.  20,  19U. 


Persian   Zend   Avesta,    for    the 
Converse,   performed    by   the   N.Y. 


Inst,  of  Arts  and  Letters, 


Svmphonv   Society 

.-Eolian  Hall,  N.Y 
Prefaces : 
Prefatory    Letter    to    "The    Communitv 

leigh   (Little   Brown,  Boston,  1917).' 
On  Some  Potentialities  of  Our  Poetry: 

of  Today,"'  edit,  by  Howard  W.  Cook   (Moffat  Yard,  N.Y 


Theatre,"   by   Louise   Bur- 
Introduction  to  "Our  Poets 
[918). 


eimSFS^ 


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